- May 20, 1995
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No description available
By Lorena Gale
medium | 69 Programs
Medium PaintingA picture or image made with paint such as oils or watercolours.
- February 19, 1991 to March 9, 1991
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Jeannie Kamins moved from Vancouver to Montreal in 1987. In November of that year Anthony Griffin, a 19 year old black youth, was shot and killed by a Montreal policeman who had a history of racial violence. This incident sparked in Kamins an extended exploration into racism. Using the Griffin murder as a jump off poiint she explored racist incidents in Canada's past such as the Komagata Maru in the early 1900's, the national policy on Jewish Immagration during World War II (None is too many), and the ongoing racist polices around native people. Kamins series is a rich and personal exploration into racial and cultural differences. She provides herself a historical backdrop and present reality through her throughts on mulitculturalism she comes to the belief that racism and differences are used in a political way to divide populations. Never reaching a commonality and suspicious of the other, we are manipulated into war and wawy from the pressing social and environmental problems that are the concern of us all.
By Jeannie Kamins
Paintings
- December 8, 2004 to December 24, 2004
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No description available
By Osmar Yero Montero
Summer’s Eyes
- June 2, 2014 to July 5, 2014
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Play, Fall, Rest, Dance, is an installation that continuously changes based on the creative output by children with disabilities. Valerie Salez creates an environment that encourages artistic freedom, exploration and installation-making over the course of several weeks.
By Amélie Andres, Deshik Chowdhury, Henry Yu, Isabelle Ghioda, Solange, Valerie Salez
Play, Fall, Rest, Dance
- September 5, 2013 to October 12, 2013
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A multimedia exhibition with work by artists Bracken Hanuse Corlette and Csetkwe Fortier. The artists turn our attention toward the stcuwin (salmon) as a traditional food source via process and connection. The decline of cultural harvest due to disease, climate change and overfishing has left both animal and human in a struggle to survive; the exhibition investigates this topic with new works in painting, drawing, sculpture and digital media. The artists acknowledge an active and ongoing mentorship with artist, Lawrence Paul Yuxweluptun, throughout the creation of this exhibition. Bracken describes the relationship as multifaceted. “He has given us invaluable tips and tricks that have helped our technical process in painting and we have had good talks about concept, form, Indian politics and life, art world dealings, and the history of Indigenous art on the coast and in the Interior [of British Columbia].
By Bracken Hanuse Corlett, Csetkwe Fortier
Don’t Go Hungry
- June 21, 2013 to July 27, 2013
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"The Big Foldy Painting of Death is a kind of west coast Canadian visual journey through its creator's mind in large scale. It's not an illustration of death or an entirely allegorical painting, but more a meditation on environment and social structures of Western Canada" Noah Becker
By Ian Forbes
The Big Foldy Painting of Death
- February 23, 2012 to March 31, 2012
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Grunt gallery is pleased to present the work of Charlene Vickers in her new installation entitled, “Ominjimendaan/ to remember”. This exhibition is comprised of a range of sculptural objects including wrapped grasses, sturdy spear forms, and stylized turtles. At the heart of this exhibition, Vickers evokes a healing space for those who have experienced loss or who are looking for someone who is missing. Within each grass stalk, spear, and turtle, memory is a source of experiential meaning both historical and personal, for maker and viewer. History, healing and growth are themes of the early wrapped grass and fabric works. By wrapping and binding grasses and hair together with cotton and linen strips, the grasses begin to resemble bone-like forms to evoke vulnerability and recovery. The most recent wrapped grasses stand facing the viewer in relation to their own body. Emphasis on how the body and experiences of the viewer are incorporated in the meaning of the work is crucial. Tall lengths of pointed, sharpened cedar stand balanced against a wall waiting for someone to employ them with purpose; a story, a history, an action. Resembling spears or tipi poles, one thinks of weaponry, hunting, or traditional shelters that provide protection and sustenance. The initial idea for the form of the work began when thinking of the porcupine quill and its elegant and efficient functionality as deterrent to predators. The clan of turtles are the searchers of things lost: people, culture, languages, and histories. The clan shuffles, floats, dreams and searches to find lost sisters and family members, then slowly re-enters the land and the rivers from where they came.
By Charlene Vickers
Ominjimendaan/ to remember
- September 8, 2011 to October 15, 2011
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In this series, an elongated and detailed landscape stretches across canvases populated by foreboding, black, geometric forms and meticulously rendered figures. Her current paintings portray the narrative of a female protagonist within a surreal landscape. Chaperon’s subject matter ranges from ethereal and dream-like to darkly humorous; she often deals with the feminine perspective from an autobiographical point of view.
By Rebecca Chaperon
Like A Great Black Fire
- January 1, 1994 to January 6, 2016
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The Al Neil Collection includes materials on artist, musician, and writer Al Neil whose long and storied career has included grunt's Al Neil Project (see 2005.1015ALN) as a part of the LIVE Biennale of Performance Art 2005, features in brunt Magazine and the web project Ruins In Process: Vancouver Art in the 60s, and continues with grunt's involvement with the relocation, preservation, and reactivation of Al Neil and Carole Itter's cabin from the Dollarton shore. The Al Neil Collection includes physical copies of Neil's music recordings, photocopied and original articles on Neil, and various ephemera related to Neil's life and work.
By Al Neil
The Al Neil Collection
- October 22, 2015 to November 28, 2015
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Artist Sayah Sarfarez translates political movements and uprising occurring in Iran into a drawing series in a drawing series in which childlike, almost naive forms and innocent aesthetics are juxtaposed with threatening motifs. Figures within these pictures are abstracted into flat-coloured shapes; crowded scenes appear simplistic and innocent in nature until a violent narrative appears. The basis of Sarfaraz' drawings and compositions are rooted in Persian miniature paintings which she expresses in a contemporary format with modern references.
By Sayah Sarfaraz